Trumpeteer
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Posts posted by Trumpeteer
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12 hours ago, The Illustrious Jerry said:
@Trumpeteer So I decided to listen to your Seven Years in Tibet episode, it being one of my favourite dark horse Williams scores, and would like to offer some feedback if I may.
Firstly, I quite enjoyed this episode. Unfortunately, I am very far behind on your podcast - I've been listening to the episodes for some of my favourite scores when I can, and would like to take a look like at some of the hidden gems from the early years eventually.
One comment I'd make is that I felt that focusing on the score as heard in the film is very limiting here, as you point out quite well. It's a real pity that so very much of this score went completely unused, and that what was used was drowned under SFX and dialogue after some considerable edits. I acknowledge that it is important to view the music in context and that this has been the focus of your show for the most part, however, in this case I would have liked to have heard you perhaps go a little deeper into the album material, as it is a phenomenal presentation regardless of its treatment.
Also, you supposed that Williams' might have read Harrer's biography or at least been aware of his story in order to be interested in the project. I'd be curious to find out what indeed was the reason, whether it be that or something else. Intriguing.
I think what grabs me so much about this score is it's subtle efficiency. It's never overstated, and it's equally reliant on it's main theme/ideas as it is athematic material (tense effects of Peter's Rescue, percussion in The Invasion, Eastern influences spread throughout, the classically influenced first half of Regaining a Son, etc.). It also just hits all the right moods and settings for me- classic sweeping theme, that deep, mournful string writing a la the Prequels (see Leaving Ingrid), and a variety of orchestral techniques and contemporary choices (the cultural aspect) that provide ample flavour to the environment.
All in all, I applaud your work and find your presentation to be very listener-friendly and informative. Keep it up!
Thank you so much for all the feedback. It means a lot.
An earlier draft of the script pretty much focused on the soundtrack more than the film version. But, I was essentially playing music without talking about it because I had little to no context for that music. I didn't want it to be an episode where I just play music -- even big fans of the music like you would get bored. So, I kept the focus on the film score and went with that.
I wish I could have found any quotes from Williams regarding reading the novel beforehand but nothing came up in my research.
I hope you will go back and catch up on other episodes. Imagine this podcast as a biographical novel. Would you skip over chapters in a novel?
One more thing:
My podcast is one of 17 on the shortlist for Best Music Podcast for the annual Podcast Awards. Please consider voting for my show before July 31 to get it on the final list of 10 nominees.
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11 hours ago, bollemanneke said:
Once again, your Stepmom episode is completely changing my opinion on the score for the better.
Thank you so much! That was my goal. Well, mostly to get people to forget the drama surrounding the replacement and at least give the score a chance.
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On 5/26/2020 at 8:06 AM, Biodome said:
In the Jurassic Park episode, David is recorded saying the exact same sentence twice. The first time from 37:33 to 37:50, and the second time immediately after that, from 37:51 to 38:06.
I don't know how I missed that during editing. Thank you so much for catching that. I will fix it and re-upload the show today. 😞
I hope that didn't ruin the show for you.
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My co-host Gianmaria Caschetto confirms on our episode of "The Baton: A John Williams Musical Journey" that Williams was the pianist. It's the second time in a row he has performed his own music, coming after Schindler's List.
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I really wish this album was available four months ago when I was working on the episode of my podcast covering this film. I really wanted to highlight the two great cues in the film besides the main title, and not use the film version with dialogue and sound effects overpowering the music. The first is the cue after the first rain, after Mel Gibson' s character almost drowns and then the family preps the farm for the rain. Interesting drum kit underneath the family theme.
And then that famous pony ride scene, which is Williams writing music for a Norman Rockwell painting.
If you listen to the episode below, you will hear that I was told by one of my regular sources about an upcoming expanded release back in January 2020. The release date wasn't known, so I am glad to see that it is ready for the world to hear.
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When the helicopter arrived at the Costa Rican island in "Jurassic Park," the music that accompanied it opened my ears to the brilliance of film scoring ... and the genius of John Williams. The "Jurassic Park" episode of "The Baton" is here, and I am joined by co-host David Kay to discuss why this score made such an impact on me and many others.
- aescalle and Jurassic Shark
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I have been getting a lot of positive responses about Far and Away. So happy that people are enjoying it. Colin ranks as one of my favorite co-hosts so far. I had not seen the film until preparing for the episode and he really showed his enthusiasm for the score.
Home Alone 2 coming out tomorrow!
- bollemanneke and aescalle
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6 hours ago, bollemanneke said:
After TOD, I really liked Last Crusade, Born on the Fourth of July and Home Alone (you did play a wrong note on the piano in Kevin’s theme), and I absolutely loved Presumed Innocent.
But I was disappointed by the Hook episode. I obviously realise you might have been pressed for time and/or influenced by the global drama, but I felt the episode was a bit too short, and what’s much more problematic, you refer to Tinker Bell’s theme as ‘a piano melody that doesn't really get any major development in the underscore' while it is used very often and clearly refers to her, and you also don’t mention the Belief theme that opens Exit Music. Especially Tink’s theme really needed mentioning.
Having said that, I still can’t wait for all your future episodes and it's fantastic that they're still coming regardless of the gloomy current events.
Thanks for the comments about all of the recent episodes. I have been told about the wrong note played on the piano for Kevin's theme, which comes from me getting incorrectly transposed sheet music. I have re-uploaded the episode with the piano performance removed.
As for Hook, we were not pressed for time. I try to keep co-hosted shows to an hour if possible. Many people write to me wishing we could spend two hours on their favorite score, but that is not the goal of the podcast. I'm not planning to play every minute of every score, but to just give a historical guide to the music. However, I was not aware that the piano melody that plays before "We Don't Wanna Grow Up" would turn into Tinkerbell's theme, so thanks for that observation.
My podcast episodes are not being affected by the worldwide pandemic, so you'll still get new ones every Wednesday!
- bollemanneke and Bayesian
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On 2/7/2020 at 6:31 AM, Mr. Breathmask said:I've been making my way through this over the past weeks. It's a nice listen during my morning and evening commutes. Particularly the episodes concerning Williams's early work were insightful, as I'm rather unfamiliar with anything predating Jane Eyre.
I know it's far too late now, but I wish there was some attention to the commercial releases of each score as part of the podcast. It would be nice to know what was out there and which version to look for after hearing each score discussed.
I have been hearing from a lot of people about my lack of discussion about the commercial soundtrack releases. I bring up such things only if it feels like something historic happened with the soundtrack release. Other times, I do record something but take it out in the interest of time and flow of the episode. Besides, my plan since the beginning has been to focus mainly on the music as heard in the film, and the composition itself. But, I will take your comment into consideration going forward.
On 2/11/2020 at 7:30 AM, bollemanneke said:Wow, listening to the TOD episode now. I didn't care much for the score when I watched the movie 3 years ago, but my opinion just totally changed! That source cue with the choir!
That was the goal that Erik and I made for this episode. We knew there were lots of people who did not like this score, and we wanted to "convert" them. I'm glad you are enjoying the score now.
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1 hour ago, Erik Woods said:Here's TEMPLE OF DOOM, which I had the greatest of pleasures to co-host with Jeff! I hope I get to join him again in the near future!
https://www.podbean.com/eu/pb-p9eyf-cc99c2
-Erik-
Erik will be back for "The Last Crusade"!
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Year Two of "The Baton: A John Williams Musical Journey" has begun, and I am giving you TWO new episodes today. The first is a fun and lively discussion about the score to "E.T. The Extra-Terrestrial," including those amazing final 15 minutes. The other episode focuses on the drama "Monsignor," which marked John Williams' first straight dramatic film in eight years and featured a very un-romantic love theme for Christopher Reeve and Genevieve Bujold.
I have already recorded episodes 58-60, and those will be released over the next three Wednesdays. I am looking forward to bringing you the final 55 episodes of this podcast, and thanks to everyone for being a part of this journey with me!
- Yavar Moradi, Bellosh, Jurassic Shark and 3 others
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The first year of "The Baton" is coming to a close. I'm so grateful to everyone who has been a part of this fun and insightful journey since the beginning, and thankful to those who found the podcast later and became new fans. I am very excited to get Year Two started, but for now, please enjoy the final episode of the year, which focuses on the film "Heartbeeps" and its very fine score by John Williams. See you in 2020 for 56 more episodes!
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I am very excited about the newest episode in my podcast, because it features a discussion of the best score ever written: "The Empire Strikes Back".
I am joined on this episode by Pittsburgh Symphony Orchestra trombonist Jim Nova, who helps me understand why Vader's theme is so sinister. We also talk about that stellar music during the asteroid field chase, the big lightsaber battle in the bowels of Cloud City and whether or not the score would translate into a great musical. Learn much in this episode, you will!
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34 minutes ago, Jurassic Shark said:
I'm reading this, and I didn't know.
I didn't know it either, until a year ago! I'm glad there is some new information in the episode for you!
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Let's get back on topic … though there is a Jerry Goldsmith connection.
The 50th episode of "The Baton" is here! And the score discussed in this episode is a "super" one. I'm joined by co-host Doug Grieve as we discuss the music to "Superman." I'm sure everyone reading this knows that John Williams was not the original composer for "Superman," and we discuss that a bit while theorizing about the relationship between John Williams and Jerry Goldsmith. But, this episode is really about analyzing this great score, from the record-setting opening titles to the wonderfully orchestrated theme for the villains. Enjoy!
"Superman" episode on "The Baton: A John Williams Musical Journey"
- aescalle and Yavar Moradi
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On 11/17/2019 at 11:12 AM, Jurassic Shark said:
@Trumpeteer, here's an interesting thought: What about having Thor as a guest on your show?
I am open to anyone joining me as guest host … provided they have something interesting to contribute about a particular score and/or that time period in John Williams' life.
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4 hours ago, danbeck said:
I tried to play the “Jaws” episode on Spotify.
Played fine for me on the Spotify app. Try other platforms (including YouTube) if you keep running into problems.
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On 11/14/2019 at 7:58 AM, danbeck said:
@Trumpeteer - Just discovered your podcast after seing it mentioned at FSM Jaws 2 thread.
I'm enjoing it a lot and kind of going backwards starting with the more recent episodes.
Liked a lot the one on "The Fury", Williams really nailed the Hermann sound but it is still unmistakably a Williams' score. Just a small comment, at the end of the podcast you mention that the explosive finale "Gillian's Power" was not available at the LSO album recording. In fact it was (at the last minutes of the penultimate track "Death On The Carrousel"). For me it is the only fault of the LSO recording comparing with the film recording because it misses the theremin sound, but the track is there.
It is interesting how Williams kind of reused the same coda in Jurassic Park.
[obs. for some reason I'm not being able to listen to Episode 41 - Jaws]
Thanks for the insight on "The Fury." I should have gone in more detail about having "Gillian's Power" on the CD, but it really is nowhere near as good as the film version and the there in is part of the reason.
I played the "Jaws" episode on Podbean and it was fine. If you are playing it on another platform, let me know.
On 11/14/2019 at 8:30 AM, Jurassic Shark said:He's got so many followers now that the server's probably overloaded.
That is my goal!!! But I don't think I am there ... yet.
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5 hours ago, Jurassic Shark said:
It's impressive that you manage to keep up such a tight schedule! How many weeks in advance do you start planning each episode?
The solo episodes have a quick turnaround and I try to have them completed at least two weeks before they go live. It takes a week to produce a show, starting with watching the film then doing research and creating the script. Recording and editing are usually done in one day. Shows with guest co-hosts take twice as long.
I try to stay at least two weeks ahead so I am not rushing to get each episode done. Sometimes I am working on two episodes in the same week, if I have the time to do so.
- crlbrg and Jurassic Shark
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On 10/31/2019 at 1:50 AM, Jurassic Shark said:
He's got so many followers now that he doesn't even bother to tell us.
Yes, I am gaining so many followers each week and it's amazing! But, really, I am so busy producing each episode that I sometimes forget to let the JWFan folks know about each new episode. A new one is released EVERY Wednesday!
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The "Star Wars" episode of my podcast has arrived, and it's a big one! I had the privilege of talking with Sir Clive Gillinson, who played cello on the score with the London Symphony Orchestra in 1977. He looks back on his memories of working with John Williams and seeing the film with music for the first time.
I also take time to discuss the main theme and other music in the film. Chris Hatt returns to join me in that discussion.
Another former guest co-host, Brian Martell, relives his memory of seeing Star Wars in the theater and being captivated by the music.
It's an episode I have been excited to bring you since this podcast started, and I hope you enjoy it!
- Jurassic Shark, Fabulin, BrotherSound and 3 others
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On 10/4/2019 at 1:01 PM, Yavar Moradi said:
I'm still grateful you let our episode on Jane Eyre go for almost an hour!
Sorry I wasn't able to join you on Family Plot, as that's another real favorite of mine (top 10 Williams for sure)! Hope Jens has the time to join you again sometime. Keep up the good work and best wishes from me and The Goldsmith Odyssey!Yavar
October has been a busy month, and very fun!
Family Plot was a better score than I expected. And the movie was OK, too.
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Everyone is entitled to their opinions, and I understand why you think "The Missouri Breaks" stands up as a good film. I enjoyed hearing the score for the first time, but I was not enjoying whatever Brando was doing. As opposed to those other films that Thor referenced, I had such high expectations for the film, based on the involvement of Brando, Nicholson and Penn. I received a few emails from listeners who also had major issues with the film.
As you will hear in the episode, I do praise some parts of the score.
On 10/2/2019 at 3:11 AM, Laserschwert said:I'd like to join the praise here, I'm enjoying your podcast immensely. On mondays I've got 2-3 hours of commute, which is always enough time for a couple of episodes. There are so many of JW's old works I've only heard of in name, so thanks a lot for finally giving them an audible "face". And still, I'm really looking forward to the episodes covering the better known soundtracks of his, and I hope your Star Wars episodes will crack the 2-hours mark
I am glad you're enjoying it! I regret to inform you that the "Star Wars" episode will not be two hours long. It might be the longest to date, but barely. As of now, I have a 65-minute show planned, which is longer than I want but necessary given the special guest who will be on the show.
New Podcast! The Baton: A John Williams Musical Journey
in JOHN WILLIAMS
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How on Earth did you guess Maxine? That was a superb guess. Glad you liked hearing her talk about performing the score.